A June 2017 NRA video entitled "The Clenched Fist of Truth" used an image of "The Bean" sculpture.	2017 年 6 月，NRA 的一段叫做“紧握真相的拳头”的视频使用了“豆子”雕塑图。
Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees.	Anish Kapoor 起诉 NRA，要求其停止播放该视频，支付因该视频而获取的任何利润，向他赔偿相当于每次侵权 150,000 美元的法定赔偿金以及律师费。
The first results of the polls from the reader participation project appeared in the form of the first three short stories which resulted from direct fan involvement in the March 2004 issue of Dengeki G's Magazine.	读者参与项目的首轮投票结果以前三篇短篇故事的形式出现，这三篇短篇故事是粉丝直接参与 2004 年 3 月这期 Dengeki G's Magazine 的结果。
The stories were written by Sakurako Kimino and illustrated by Chitose Maki.	这些故事由 Sakurako Kimino 撰写，由 Chitose Maki 绘制插图。
Over the following months, the stories continued, producing the first story arc named the Etoile Chapter (エトワール編 Etowāru-hen) containing eighteen stories which ran between March and July 2004.	在接下来的几个月里，随着故事的继续进行，产生了第一条叫做 Etoile Chapter (エトワール編 Etowāru-hen) 的故事线，其中包含 2004 年 3 月至 7 月之间发生的 18 个故事。
Due to the concerns that there was not enough time between the Athletic Festival (an early summer event) and the Cultural Festival (an autumn event), the second, and last, story arc named the Dormitory Panic Chapter (寄宿舎パニック編 Kishukusha Panikku-hen) containing seven stories began the next month, running between August 2004 and January 2005.	由于担心运动节（初夏的活动）和文化节（秋季的活动）之间的时间不够，第二条也是最后一条叫做 Dormitory Panic Chapter (寄宿舎パニック編 Kishukusha Panikku-hen) 的故事线在次月开始，时间跨度为 2004 年 8 月至 2005 年 1 月。
The second arc's stories, which were longer than the earlier pieces, involved taking one of the three main characters, performing coupling for them with one of the other eleven girls and presenting them in various situations.	第二条线的故事比早期作品长，涉及三个主要人物之一，为他们与其他 11 个女孩中的一个配对，并在各种情况下展示他们。
None of the original stories were ever published again in bound volumes.	原先的故事都没有再装订成册出版。
The stories themselves were more or less vignettes, in which each gave a brief glimpse into what was referred to as a "yuri coupling".	这些故事本身或多或少是些花絮，其中每个故事都对所谓的“yuri 配对”进行了简短介绍。
Between May and September 2005, a revised series of the short stories was produced; once per month, five more supplementary short stories were published during this time period, each of which was longer than any of the previous pieces.	在 2005 年 5 月至 9 月，制作了短篇故事修订系列；在此期间，每月再出版 5 篇补充性的短篇故事，每篇都比以前的任何作品长。
Although each individual story had its own title, the stories were under the collective title of "The Girls, who art in heaven".	尽管每个单独的故事都有自己的标题，但这些故事都在“徜徉于天堂艺术的女孩”的总标题之下。
After the ending of this short compilation in September 2005, it was decided that the original illustrator, Chitose Maki, would be replaced by Namuchi Takumi for future Strawberry Panic!	在 2005 年 9 月这次短篇编纂结束后，决定在未来的 Strawberry Panic! 项目中，由 Namuchi Takumi 取代原来的插画师 Chitose Maki。
The show was hosted by Mai Nakahara, who voiced Nagisa Aoi in the anime edition, and Ai Shimizu, who voiced both Tamao Suzumi and Kizuna Hyūga in the anime.	该节目由在动画版中为 Nagisa Aoi 配音的 Mai Nakahara 和在动画中为 Tamao Suzumi 和 Kizuna Hyūga 配音的 Tamao Suzumi 主持。
The show contained sixty-one episodes, which were divided between three CDs; the first went on sale on March 8, 2006.	该剧有 61 集，分为三张 CD；第一张于 2006 年 3 月 8 日发售。
The other two releases came out on July 5, 2006, and January 11, 2007, in Japan.	其他两个版本于 2006 年 7 月 5 日和 2007 年 1 月 11 日在日本上市。
The radio show included nine guests who had played other voice acting roles in the anime version, and Rino, singer of the opening theme "Sweetest" in the PlayStation 2 game version.	这个广播节目包括九位曾在动漫版中饰演其他配音角色的嘉宾，以及 PlayStation 2 游戏版中开场主题“Sweetest”的演唱者 Rino。
The Strawberry Panic!	Strawberry Panic!
manga, written by Sakurako Kimino and illustrated by Namuchi Takumi, was serialized in Dengeki G's Magazine between September 30, 2005, and February 28, 2007, with a new chapter released once a month.	是由 Sakurako Kimino 创作的漫画，由 Namuchi Takumi 绘制插图，于 2005 年 9 月 30 日至 2007 年 2 月 28 日在 Dengeki G's Magazine 上连载，每月发布新的一章。
Two bound volumes have been published in Japan under MediaWorks' Dengeki Comics label.	这两册合订本以 MediaWorks' Dengeki Comics 标签在日本出版。
The first went on sale on March 27, 2006, featuring Nagisa and Shizuma on the cover, and the second volume came out on October 27, 2006, featuring Nagisa and Tamao on the cover.	第一册于 2006 年 3 月 27 日发售，封面是 Nagisa 和 Shizuma，第二册于 2006 年 10 月 27 日发售，封面是 Nagisa 和 Tamao。
The education system is monitored by the District Education Officer (EDO) of the City District Government of Faisalabad.	教育系统由 Faisalabad 市区政府的地区教育官 (EDO) 监督。
The city government reports its findings to the Ministry of Federal Education and Professional Training and the Minister for Education.	市政府向联邦教育和专业培训部及教育部长报告其调查结果。
Funding is provided by the Government of Punjab, Pakistan, City District Government and the fees collected from schools.	资金由巴基斯坦旁遮普省政府、市区政府和向学校收取的费用提供。
There are four levels of the education system in the city: Primary, Elementary, High and Higher Secondary Level.	该市的教育系统分为四个阶段：小学、中学、高中和高级中学水平。
Primary level education is only compulsory.	小学阶段的教育只是义务教育。
There are a number of schools for the assistance of children with special needs.	有些学校用于帮助有特殊需要的儿童。
The Pakistan Electronic Media Regulatory Authority (PEMRA) is responsible for the regulation and monitoring of electronic media entertainment in the country.	巴基斯坦电子媒体监管局 (PEMRA) 负责管理和监督该国的电子媒体娱乐。
Pakistan Television Corporation, is the state-owned regulated television broadcasting network.	巴基斯坦电视公司是受监管的国有电视广播网络。
The government began licensing private broadcasters in 2002.	政府于 2002 年开始向私营广播公司发放许可证。
The government of Pakistan installed the first radio transmitters in the city on 15 September 1982.	1982 年 9 月 15 日，巴基斯坦政府在该市安装了第一批无线电发射器。
"Radio Pakistan" broadcasts three government regulated FM stations: "Radio Pakistan FM101, Radio Pakistan FM93 and Radio Pakistan Sautul Qur'an Channel FM93.4. FM101 became operational in 2002, FM93 went live in 2010 and FM93.4 Sautul Qur'an Channel went live in 2016; PBC all three stations are standard power KW 2.5.	“巴基斯坦电台”播送三个由政府监管的 FM 电台：巴基斯坦电台 FM101、巴基斯坦电台 FM93 和巴基斯坦电台 Sautul Qur'an 频道 FM93.4。FM101 于 2002 年开通，FM93 于 2010 年上线，FM93.4 Sautul Qur'an 频道于 2016 年上线；PBC 所有三个电台都是标准功率 KW 2.5。
Pakistan Telecommunication Authority is a government-owned organisation that is responsible for the establishment, operation and maintenance of telecommunications in the city.	巴基斯坦电信局是一个政府所有的组织，负责城市电信的建立、运营和维护。
The organisation monitors and prevents illegal exchanges in the city.	该组织监督和防止城市中的非法交换。
Pakistan Telecommunication Company Limited is the main provider of fixed line, mobile and broadband services.	巴基斯坦电信有限公司是固定线路、移动和宽带服务的主要供应商。
Regional headquarters is located at the Central Telecom House in Chinot Bazaar.	地区总部位于 Chinot Bazaar 的中央电信大楼。
With the deregulation of the telecommunication sector by the Ministry of Information Technology, a range of companies now offer mobile and broadband services in the city.	随着信息技术部放松对电信部门的管制，现在该市有多家公司提供移动和宽带服务。
In 2008, the Government of Pakistan lifted a forty-year ban on Bollywood films which allowed Indian films to be played in cinemas.	2008 年，巴基斯坦政府解除了对宝莱坞电影长达四十年的禁令，允许电影院播放印度电影。
The cinema industry has since seen the introduction of new cinemas such as Cinepax by Hotel One, and Cine Nagina.	此后，电影业出现了一些新的电影院，如 Hotel One 和 Cine Nagina。
The Government College University in Faisalabad encourages students from the University of Agriculture to hold workshops and explore themes of peace and tolerance which can be used in an engaging and entertaining way to communicate complex issues to different audiences.	Faisalabad 政府学院大学鼓励农业大学的学生举办研讨会，探讨和平与宽容的主题，这些主题可以用一种引人入胜而又有趣的方式向不同的受众传达复杂的问题。
In its original American broadcast on March 10, 2002, "The Old Man and the Key" received a 7.9 rating, according to Nielsen Media Research, translating to approximately 7.9 million viewers.	在 2002 年 3 月 10 日的美国首播中，根据尼尔森媒体研究公司的数据，“老人与钥匙”的收视率为 7.9，相当于大约 790 万观众。
The episode ranked 19 in the top 25 most watched television programs the week it aired.	这一集在播出当周的前 25 个收视率最高的电视节目中排名第 19 位。
Later in 2002, "Ode to Branson" was nominated for the Primetime Emmy Award for Outstanding Music And Lyrics, which it ultimately lost to a score from BBC's nature documentary The Blue Planet.	在 2002 年晚些时候，“布兰森颂”被提名为黄金时段艾美奖杰出音乐和歌词奖，但它最终输给了 BBC 的自然纪录片“蓝色星球”。
In 2007, the song was included on the soundtrack album The Simpsons: Testify.	2007 年，这首歌被收录在原声专辑《辛普森一家：证词》中。
Following the thirteenth season's release on DVD and Blu-ray, "The Old Man and the Key" received mixed reviews from critics.	在第十三季的 DVD 和蓝光版发行后，“老人与钥匙”得到了评论家褒贬不一的评价。
Writing for Project:Blu, Nate Boss stated that Grampa "just isn't all that funny when cornered, and that's what we get here," and that "the jokes are a bit too few and far between".	Nate Boss 在为 Project:Blu 撰写的文章中指出，爷爷“走投无路时并不那么滑稽，这就是我们在这里所看到的，”而且“笑话有点太少，而且间隔很远”。
Giving the episode a negative review, Ryan Keefer of DVD Talk wrote that it was "borderline painful" and one of the season's "duds".	DVD Talk 的 Ryan Keefer 给了这一集负面评价，他写道，它令人“痛苦到了边缘”，是本季的“哑弹”之一。
Casey Broadwater of Blu-ray.com wrote that the episode "moves at a geriatric pace", and R. L. Shaffer of IGN stated that it "represent[s] some of the worst of The Simpsons." On the other hand, giving the episode a positive review, Ron Martin of 411Mania enjoyed the "poke towards Branson, Missouri, a mecca for old people everywhere," and Jennifer Malkowski of DVD Verdict gave the episode a B rating.	Blu-ray.com 的 Casey Broadwater 写道，这一集“以老年人的速度发展”，IGN 的 R. L. Shaffer 说，它“代表《辛普森一家》中最糟糕的一些内容”。另一方面， 411Mania 的 Ron Martin 对这一集给予了肯定的评价，他喜欢“对密苏里州 Branson 的嘲弄，那里是各地老人的圣地，”DVD Verdict 的 Jennifer Malkowski 对这一集的评级是 B。
Colin Jacobsson of DVD Movie Guide wrote that, even though Grampa is "essentially a one-joke personality," "those gags tend to be pretty fun." He concluded his review by writing that the episode was "a likable program."	《DVD 电影指南》的 Colin Jacobsson 写道，尽管爷爷“本质上是个爱开玩笑的人，”“那些插科打诨往往非常有趣。”他在评论的最后写道，这一集是“一个讨人喜欢的节目。”
Despite the mixed responses, the episode features one of the "most used little clips" of the series.	尽管反应不一，但它是该系列中“使用最多小片段”的一集。
The scene shows Grampa getting his driver's license.	这一幕显示爷爷拿到了他的驾照。
Instead of taking a photo for the license on the spot, Grampa suggests that Selma, who works in the facility, use a photo of him from a newspaper headline that reads "Old man yells at cloud." Selma agrees, and Grampa, holding his newly acquired license, goes up to a window and yells "Who's laughing now?" at a cloud.	爷爷没有当场为驾照拍照，而是建议在爱该机构工作的 Selma 用一张报纸头条上的照片，上面写着“老头子骂云”。Selma 同意了，爷爷拿着他新获得的执照，走到窗前对着一朵云大喊“现在谁在笑？”。
A still from the scene has been used several times on The Daily Show.	这一幕的剧照在《每日秀》中多次使用。
Both Malkowski of DVD Verdict and Jacobsson of DVD Movie Guide considered it to be the best part of the episode.	DVD Verdict 的 Both Malkowski 和《DVD 电影指南》的 Jacobsson 都认为这是这一集最好的部分。
After Clint Eastwood's speech at the 2012 Republican National Convention, which featured Eastwood talking to an empty chair representing President Barack Obama, a modified version of the image with the caption, "Old man yells at chair", was used in an internet meme.	在克林特伊斯特伍德在 2012 年共和党全国代表大会上的演讲中，伊斯特伍德对着一张代表巴拉克奥巴马总统的空椅子说话，之后，这张图片的修改版和标题“老头子骂椅子”被用于网络模因。 
The story crosses the paths of characters from various social and ethnic groups in Los Angeles.	在这个故事中，来自洛杉矶不同社会和种族群体的人物交织在一起。
Forty of the ensemble cast have significant speaking roles, but none takes the part of a main protagonist.	40 名群戏演员有重要的演讲角色，但无一人担任主角。
The story takes place in 1989, against the backdrop of the city's racial tensions of the era and the US invasion of Panama.	故事发生在 1989 年，背景是当时城市的种族紧张局势和美国入侵巴拿马。
At the nominal center is a punk band called Love and Rockets, which shares its name with the English band; the punk band complains stole the name from them (the real-life band formed in 1985 and took its name from the Hernandez's comic book). The band is slated to appear at a party at the bass player's upper-class mother's home, but the performance never takes place in the story.	名义中心是一支叫做“爱与火箭”的朋克乐队，该乐队与英国乐队同名；该朋克乐队抱怨盗用了他们的名字（现实生活中的这支乐队成立于 1985 年，其名称来自 Hernandez 的漫画书）。乐队被安排在贝斯手上流社会母亲家的一次派对上出现，但故事中从未有过表演。
Rather, the story quickly transitions from character to character, revealing details of each one's personality traits and ethnic, class, sexual, and subcultural backgrounds.	相反，故事迅速从一个人物过渡到另一个人物，揭示了每个人的个性特征和种族、阶层、性别和亚文化背景的细节。
The story builds in complexity to a chaotic alcohol- and drug-fueled party in which someone almost gets killed; the turbulent narrative then calms and slows into a sequence of wordless panels that pan out into the cosmos.	这个故事走向复杂，在一个混乱的酒精和毒品派对中有人差点被杀；然后动荡的叙事平静下来，放慢速度，进入一连串的无字板，向宇宙延伸。
On its release, reviewer Anne Rubenstein praised Love and Rockets X for expanding the "aesthetic possibilities of graphic narrative"; she recommended it as a starting point for new Love and Rockets readers daunted by the complexity of the earlier stories, and called it "as essential as the rest of the Hernandez canon".	在发行时，评论家 Anne Rubenstein 称赞“爱与火箭 X”拓展了“图形叙事的美学可能性”；她建议将其作为新的“爱与火箭”读者的起点，因为他们对早期故事的复杂性感到望而却步，并称其“与 Hernadez 的其余作品一样重要”。
Comics critic R. Fiore placed Love and Rockets X 7th on his list of best English non-strip comics of the 1990s.	漫画评论家 R. Fiore 将“爱与火箭 X”排在 20 世纪 90 年代最佳英文非连载漫画榜单中的第 7 位。
He calls it "a comics equivalent of a Victor Hugo-style social novel" and praises Hernandez for successfully interweaving so many of the quasi-isolated ethnic social milieus of Los Angeles into one narrative, though he found weakness in Hernandez's grasp of their various speech patterns and suggested actual South Americans would have been more appropriate to the real political background than the fictional Palomarians.	他称其为“一部相当于维克多雨果式的社会小说的漫画”，并称赞 Hernandez 成功地将洛杉矶如此之多的准孤立种族社会环境交织在一起进行叙述，尽管他发现 Hernandez 对他们的各种语言模式和把握存在弱点，并指出真正的南美人会比虚构的帕洛利亚人更适合真实的政治背景。
Reviewer Tom Knapp considered the work "confusing" and "one of the low points" in the Love and Rockets series.	评论家 Tom Knapp 认为这部作品“令人困惑”，是《爱与火箭》系列的低谷之一。
Douglas Wolk called Love and Rockets X "the prime example of Gilbert's fascinations as a storyteller". F. Vance Neill saw it as an early example of Hernandez's concern with "the values of trust, loyalty, honesty, and community" and "the consequences of failing to adhere to these values" that he explored later in works such as Speak of the Devil (2008) and The Troublemakers (2009).	Douglas Wolk 称“爱与火箭 X”是“Gilbert 热衷于讲故事的典型例子”。F. Vance Neill 认为这是 Hernandez 关注“信任、忠诚和社区价值观”以及“未能遵守这些价值观的后果”的早期例子，他后来在“恶魔讲述” (2008) 和“麻烦制造者” (2009) 中探讨了这个问题。
The story's Los Angeles setting anticipated that of Hernandez's post-Palomar stories featuring Luba and her family.	这个故事的洛杉矶背景预示着 Hernandez 在帕洛玛之后以 Luba 和她的家庭为主角的故事。
Zeisler and Becker first described a syndrome with multiple lentigines, hypertelorism, pectus carinatum (protruding breastbone) and prognathism (protrusion of lower jaw) in 1936.	1936 年，Zeisler 和 Becker 首次描述了一种带有多发性色斑、眼距过宽、高眼压、鸡胸（胸骨突出）和前突（下颌突出）的综合征。
Sporadic descriptions were added through the years.	这些年来增加了零星的描述。
In 1962, cardiac abnormalities and short stature were first associated with the condition.	1962 年，心脏异常和身材矮小首次与此病相关。
In 1966, three familial cases were added, a mother, her son and daughter.	1966 年，增加了三个家族性病例，一个母亲、她的儿子和女儿。
Another case of mother to two separate children, with different paternity of the two children, was added in 1968.	1968 年，又增加了一个母亲与两个同母异父孩子的病例。
It was believed as late as 2002 that Noonan Syndrome with Multiple Lentigines (NSML) was related to neurofibromatosis type I (von Recklinghausen syndrome).	直到 2002 年，人们还认为 Noonan 多斑痣综合征 (NSML) 与 I 型神经纤维瘤病（von Recklinghausen 综合征）有关。
In fact, since both ICD9 and ICD10 lack a specific diagnosis code for NSML, the diagnosis code for NF1 is still sometimes used for diagnostic purposes, although it has been shown that the gene is not linked to the NF1 locus.	事实上，由于 ICD9 和 ICD10 都缺乏 NSML 的具体诊断代码，因此有时仍然使用 NF1 的诊断代码进行诊断，尽管已经证明该基因与 NF1 基因座没有联系。
Hutchison married Mary Kaiakonui, a local resident of Kalaupapa, in 1881, in a ceremony blessed by Father Damien.	1881 年，哈奇森在神父达米恩的祝福下，与卡劳帕帕当地居民玛丽•凯阿科努伊结婚。
According to historian John Tayman, Mary may have also contracted leprosy and they had a daughter who did not suffer the same infection as her parents.	根据史学家约翰•泰曼的说法，玛丽可能也感染了麻风病，他们有一个女儿，但她没有像她的父母一样受到感染。
Other sources claimed they were childless.	另有消息称他们没有孩子。
They lived at Hutchison's house, in a part of the settlement called Makanalua.	他们居住在哈奇森的房子中，位于名为马卡纳卢阿的定居点。
Kaiakonui cared for her husband as his mea kōkua (caregiver) until her death on May 16, 1905, at the age of forty-seven.	凯阿科努伊一直照料她的丈夫，作为他的 mea kōkua（照料者），她于 1905 年 5 月 16 日去世，享年 47 岁。
She was buried in the Catholic section of Papaloa Cemetery and a white bronze grave monument marks her final resting place.	她被安葬在 Papaloa 公墓的天主教区，一块白色的青铜墓碑标志着她的最后长眠之地。
His brother's descendants believe that he could be buried next to his wife.	他哥哥的后人认为，他可能安葬在他妻子的旁边。
Members of his family were present at the 2009 canonization of Father Damien in Rome.	2009 年，他的家人出席了在罗马举行的达米恩神父封圣仪式。
In his incomplete will, Hutchison expressed his love for his mother, his wife and the dwindling Hawaiian race:	在他不完整的遗嘱中，哈奇森表达了他对母亲、妻子以及日益减少的夏威夷族人的爱：
For the love and affection I hold for my mother, Maria Mo-a, and Maria Kaiakonui, my wife (deceased), who were of the pure Hawaiian aboriginal ancestry, from whom sprung from and hold dear and my heart longing desire to perpetuate their race from extinction which forecasting shadow of time forbode their doom, which only the power of a mercifull and all loving God can stay, from the evident fate which await them and leaving firm faith in the love and mercy of God, who alone can save and perpetuate and multiply from being effaced from the land, which, by His grace he gave to their forefathers and foremothers and their descendants as a heritage forever and to this end and purpose, I consecrate my worldly estate both real, personal or mixed.	出于对我的母亲 Maria Mo-a 和妻子 Maria Kaiakonui（已故）的爱和感情，她们是纯正的夏威夷原住民血统，从她们身上孕育出我的内心对延续他们种族的珍视与渴望，使她们的民族免遭灭绝，预测的时间光影预示着他们的厄运，只有仁慈博爱的上帝才能阻止，远离等待他们的显而易见的命运，坚定地相信上帝的爱和怜悯，只有上帝才能拯救，使之永存，使之繁衍，不至从这片土地上消失，这片土地是上帝赐给他们祖先和他们后代的永远遗产，因此，我奉献我的世俗财产，无论是真实的、个人的还是混合的。
Described as a "dapper young man with a moustache waxed into long points", he made for a "dynamic figure with a penetrating voice", and was noted for riding his Douglas motorcycle through the 1920s and 30s in his khaki overalls as he traveled between his professional practice, teaching duties and home life.	被描绘为“蓄着长胡须的精致青年”的他塑造了一种“声音犀利且活力十足的人物形象”，他游走在专业实践、教学职责和家庭生活之间，以穿着卡其色工装并身骑道格拉斯摩托车穿越过 20 世纪 20 年代和 30 年代而闻名。
On the home front, Louis Laybourne Smith married Frances Maude Davies, the daughter of Edward Davies to whom he had been articled, on 9 April 1903.	在家庭方面，路易斯·莱伯恩·史密斯于 1903 年 4 月 9 日与爱德华·戴维斯之女弗朗西丝·莫德·戴维斯成婚。
They had three daughters and a son, Gordon Laybourne Smith, who ultimately followed his father into architecture.	他们有三女一子，儿子戈登·莱伯恩·史密斯最终跟随父亲进入了建筑行业。
Laybourne Smith "consistently overworked"; architecture was said to be both his profession and his obsession.	莱伯恩·史密斯“一直超负荷工作”；据说建筑既是他的职业，也是他的痴迷。
When his firm announced a retirement scheme he declared that he had no intention of retiring, and such proved to be the case—he died at his desk on 13 September 1965 at the age of 85.	他的公司宣布退休计划时，他却声明自己无意退休，事实证明确实如此——他于 1965 年 9 月 13 日在办公桌前去世，享年 85 岁。
Despite enjoying her career in the adult film industry, Samson had other ambitions.	萨姆森尽管很喜欢成人电影业的职业，但她还有其它雄心。
In 2005, while on vacation in Tuscany, Italy, she decided she could "leave a mark on this world" by making wine.	2005 年，在意大利托斯卡纳区，她决心通过酿酒“在世界上留下印记”。
Then married to a wine merchant,she had frequently traveled to Italy and France, and often fantasized about owning her own vineyard.	后来她嫁给了一位酒商，经常到意大利和法国旅行，幻想拥有自己的葡萄庄园。
When she was a child, she had helped her family make wine in the basement of their house in Watertown, New York.	孩提时，她家住在纽约沃特敦，那时她曾帮助家里在地下室酿酒。
She formed the company, Savanna Samson Wines, and asked Italian winemaker and consultant Roberto Cipresso to help find a blend of grapes local to Tuscany that would produce her ideal flavor.	她创办了一家公司，名为 Savanna Samson Wines，然后请意大利酿酒师罗博特-奇普罗索做顾问，帮助她在托斯卡纳地区寻找能酿出理想风味红酒的当地葡萄混合品种。
They eventually chose a mixture of 70 percent Cesanese, 20 percent Sangiovese and 10 percent Montepulciano, which produced a red wine that she named Sogno Uno, meaning 'Dream One.' Its label played on Samson's notoriety as a porn star, featuring a side view of her wearing only a see-through gown and high heels.	他们最终选择混合 70% 的 Cesanese、20% 的 Sangiovese 和 10% 的 Montepulciano，酿出了一款红酒，她称之为 Sogno Uno，意思是“梦想一号”。其标签展现了臭名昭著的色情明星萨姆森穿着透明睡衣和高跟鞋的侧面。
Wine critic James Suckling gave Sogno Uno a rating of 75 out of 100, and described it as "barely drinkable".	葡萄酒评论家詹姆斯-萨克林给 Sogno Uno 的评分为 75 分（满分是 100），将其描述为“勉强能喝”。
A gala launch was held for the wine at a Manhattan restaurant on February 27, 2006.	2006 年 2 月 27 日，在曼哈顿的一家餐厅为该酒举办了一场庆祝午宴。
By June 2007, her company had produced two more wines.	到 2007 年 6 月，她的公司又生产了两款葡萄酒。
A limited edition of MCMXC a.D. was released on 4 November 1991 with four remixed tracks.	MCMXC a.D. 限量版在 1991 年 11 月 4 日发行，有四首混音的曲目。
The original part of the album blends into the first of the four additional tracks, and each of the additional tracks also blend into each other.	专辑原来的部分混合到另外四首曲目的第一首，其他曲目每首也互相混合。
This gives the album a sense of continuation from start to finish.	这给专辑提供一种自始至终的连续感。
One of the remixes, The Returning Silence of The Rivers of Belief, does not appear on any of the singles.	在重新混合后，The Returning Silence of The Rivers of Belief 不会出现在任何单曲中。
The November 1999 reissue includes six remixed tracks on a second disc.	1999 年 11 月，重新发行的专辑在第二张唱碟上包含六首重新混音的曲目。
In March 2016 a numbered Limited Edition was released on Hybrid SACD in Hong Kong.	2016 年 3 月，在香港发行了关于 Hybrid SACD 的限量版。
Janet B. Blundell, in Library Journal, finds Angelou's poetry lacking in comparison to her prose, and states, "The reader is jarred by stilted, 'poetic' language and stilted, sing-song, school-girlish rhyme".	珍妮特·B·布伦德尔在《图书馆杂志》中发现，与安吉洛的散文相比，她的诗有些欠缺，同时指出：“读者会被生硬的、‘诗意’的语言和不自然的、歌唱式的、女学生式的韵律所震撼。”
She finds the best poems in Shaker are the ones that are structured like blues music.	她发现夏克尔最好的诗是那些结构像蓝调音乐一样的作品。
Mary S. Cosgrove, in Horn Book Magazine, calls the poems in Shaker "a lyrical outpouring of seasoned feelings from the heart and mind", and calls Angelou "musical, rhythmical, and enchanting".  J.T.	玛丽·S·科斯格罗夫在《号角书评》杂志上称夏克尔的诗歌是“心灵和头脑中成熟情感的抒发流露”，并称安吉洛“富有音乐感、节奏感和魅力”。J.T.
Keefe, in World Literature Today, says about Shaker": "Deceptively light and graceful, Maya Angelou's poems are lyrical, emotional, melancholy".	基夫在《今日世界文学》中这样评价夏克尔：“玛娅·安杰洛的诗看似轻松优雅，却充满了抒情、情感和忧郁。”
Keefe compares Angelou's poems to music, especially the music of French singer Édith Piaf, and also states, "These poems are full of shining hurt as, like curving scimitars, they skillfully pierce the hearts of their readers".	基夫把安杰洛的诗比作音乐，特别是法国歌手伊迪丝·琵雅芙的音乐，还指出：“这些诗充满了耀眼的伤害，彷如一把弯刀，巧妙地深入到读者的内心中”。
In a commentary made for the 1980 anthology, The Golden Man, Philip K. Dick briefly touched on several themes of the story, including the Christian allegory of the "suffering servant", manifested in the character of Bors.	在 1980 年的选集《黄金人》的评论中，菲利普·K·迪克简要地谈到了故事的几个主题，包括基督教“受苦的仆人”的寓言，这体现在鲍斯这一角色上。 
This was touched upon in the Dick biography Divine Invasions, by memoirist and biographer Lawrence Sutin.	回忆录作者和传记作家劳伦斯·苏廷在迪克的传记《神圣入侵》中也提到了这一点。
Drawing on Dick's commentary, Sutin sees Bors as part of a religious pattern in Dick's stories as a "Christ-like robot", and likens the robot to characters in other stories by Dick who suffer from illness.	根据迪克的评论，苏廷认为鲍斯是迪克故事中宗教模式的一部分，即他是一个“像基督一样的机器人”，并将这个机器人与其他故事中患病的角色进行了比较。
